Wow--good discussion, everyone! I agree that it looks like there's some sort a bump, or a roll, at the transition of the turns, but there was not. I suspect there are several reasons for it. First, those turns actually steered a little up the hill at the completion, which explains why the skis point uphill slightly in the transition. They are NOT going up a bump.
It is interesting to note, though, that the so-called "virtual bump" phenomenon is also responsible for the appearance of an actual bump. In completed turns, just as in moguls, skis turn downhill and gain speed through the first phase of the turn, then slow down again as they come across and even up the hill. The feet move forward and then back, very much as they do in the "Backpedal" animation shown in the original thread (click here to view).
I suspect that the roughness of the original animation has also caused some of the confusion here. Here's a second attempt, somewhat cleaned up, that I think comes closer to showing what the skiing actually looked like:
Remember that these animations are assembled by hand, from stills extracted from the original video. I had to adjust each frame's size and location on the screen by eye, to make it as smooth as possible, and to make the looped transition point as seamless as I could. The first animation was hastily done. I was a little more careful on the second, and also tried to show some of the actual movement across the hill. Finally, I tilted the images just a little, so they don't actually go uphill at the end of each turn. While this may have involved some artistic license, I think it eliminates the confusing appearance of a bump.
Unfortunately, the original video was only a one-turn clip (where's the rest of the run, Rusty?), so I had very little to work with.
Some notes on carved vs. skidded turns, and the "Slow Line Fast" are in order. As I've often said, I think way too much emphasis is often placed on end results, and way too little on the intent and movements that produce them, causing some of the confusion that has surfaced in this thread. What really matters is the INTENT behind the turns, not the tracks they leave behind, although those tracks will certainly tell much about the effectiveness and character of the skier's movements.
Bode Miller and Hermann Maier often skid several meters off the "pure carved line," especially in an icy downhill course, while a beginner's embryonic and perhaps even defensive first turns will only skid a few inches. Yet few would argue that Miller's and Maier's turns were "skidded type" turns, or that the beginner's turns were carved. It's really much more a question of intent
Maier and Miller, presumably, were trying to ski their chosen lines, as cleanly and efficiently as possible. They were not trying to "carve," and they certainly weren't trying to skid (except when they are legitimately braking). Their turns are as carved and clean as possible, given the circumstances (speed, radius, steepness, equipment, snow conditions, skill)--but that hardly means they are always "pure carved."
The same is true of the low-speed Basic Parallel turns in my animation. They are "as carved as possible." There is some inevitable skidding, but absolutely no intentional tail-pushing. At the low speed and tight radius, no ski except perhaps a "snowblade" could actually make a pure-carved turn. The animation turns represent the only blend of skills and movements possible to produce them. Tip the skis more, and they would lock up, "rail out," and carve themselves off my chosen line. Tip them any less, and they would lose their grip and skid sideways off the line.
So these turns are heavily steered, necessarily brushed, "as carved as possible," offensive turns meant to demonstrate the movements and skill blend needed to steer a precise, very complete, deliberate line. They represent the "Center Line(TM)," what Weems calls the "Mother Turn." The movements and skill blend match the intent to control LINE, to go (that is, GO!
) precisely where I choose to go. As others have noted, they share this intent, and all fundamental movements, with the Wedge Christie, as well as the highly dynamic turns of World Cup GS racers.
They certainly don't represent ALL good skiing. They aren't the only important turns in a good skier's repertoire. They aren't even the most fun type of turns, in my opinion. I've often referred to three very different types of INTENT that dictate nearly all of my skiing. The desire or need to control SPEED dictates braking, intentionally skidded, tail-pushed turns. The desire to control DIRECTION produces the blend shown in the illustration. (And, of course, since direction can control speed, if I choose my line wisely, I minimize the need to control speed, and avoid the ugly, but sometimes useful, braking moves that would result. That is all that is meant by "skiing the slow line fast").) Clearly, different speeds, steepness, condtions, equipment, turn radii, and equipment will change the movements in degree, but not in character. Rotary, edging, and pressure control movements are all blended skillfully as needed, taking full advantage of the ski design and forces available for any particular situation.
The third intent may be the most fun. It's what I do when I don't need to control either speed OR direction, at least not precisely, and I can afford to transfer some, or all, of the control to my skis. It is the intent to CARVE, to tip my skis and let them take me for a great ride, to savor the G-forces that today's skis can produce. For these, I switch off active steering (rotary), tip more, and play with only edge angles and pressure to extract maximum performance from my skis. They're fun. But should my priorities change--either to brake quickly, or to gain more precise control of my line, I'll gladly sacrifice some of that pure carve, as needed.
Finally, FastMan, remember that "anticipation-release" is not itself a unique rotary mechanisim (like classic "rotation," counter-rotation, leg steering, or a blocking pole plant). It is merely a windup-release mechanism that can be involved in ANY mechanism, adding to its power. Classic anticipation-release involved coiling the abdomen and torso (windup) and then releasing the energy to turn the skis. If a firm pole plant is involved, the actual mechanism that turns the skis is the blocking pole plant, acting like a wrench through the extended arm to twist the body and skis. If no pole plant, the mechanism is typically counter-rotation--the "equal and opposite" actions of the upper and lower body rotating in opposite directions. If the anticipation-release is a quick, uninterrupted "1-2" movement, it is classic "rotation."
None of these things, with the possible exception of a VERY small amount of rotation, takes place in the animation. The pole plant is not blocking at all. In fact, I believe what we were actually working on when the video was taken was a "paddling" action of the pole--pulling its tip back as it touches the snow.
Look closely, and you will see that, unlike classic "anticipation-release," there is virtually no twisting in my abdomen or torso, which remain almost entirely square with my pelvis throughout the turns. The "stretch zone" is down in the legs and hip sockets, where the femurs rotate independently. This independent leg rotation, which is fairly active (muscular) in these turns, steers the skis into a slightly countered relationship with the pelvis and upper body, as Rusty has noted. Especially with my very flexible hips, though, there is very little if any windup "coiling spring" effect with this leg rotation, although there is some. And that is, indeed, a form of anticipation-release, although I would suggest that it plays an extremely minor role in the rotary mechanics of these turns.
As Rusty has noted, "pivot slips," as Ric Reiter demonstrates so well in the original animations thread, highlight these leg-rotation movements. Notice the very similar positions that result in both Ric's pivot slips and my short-radius, complete basic parallel turns. The only significant difference is the measured and timely blending in of edging movements to create the desired turn shape!
Well, that's enough for now. Carry on!